Welcome to Echoing the Sound. You'll find that quite a few things have changed here since the last iteration of the board so be sure to check out the FAQ. This is a completely fresh start - You'll need to register before you can post: click the register link above to proceed (and look for the registration email in your spam folder). To start viewing messages, select the forum that you want to visit from the selection below.

Hi Trent, Closure turns 20 this year, so i have a very simple request: why the fuck don't you throw into fucking pirate bay the fucking complete further down the spiral show that never saw the fucking light? we know you still fucking have it since you added some mr self destruct footage to the fucking closure apendage...thanks!

So, I made an interesting discovery today. The "DJ Edit" of Wish on Demos & Remixes is not the "No Bad Words Mix" which is the US radio edit. Rather, it is the "Radio Edit" which is longer, censored differently, and exclusive to UK promo vinyl.

That means tracks 10-12 on Demos & Remixes are all UK exclusive. As such, it's not unreasonable to hypothesize that the compiler of the bootleg lives in the U.K. Following that train of thought, I think it's possible that the leaked demos from tracks 1-5 came from the London sessions at Blackwing Studios with John Fryer, from someone who had access to them there.

I was looking over my TDS Definitive Edition today, and it made me realize something that made me feel really dumb.

For the longest time, I thought that the text on the outer sleeve of TDS (I have the BMG edition) was purple. A very dark purple. I thought it was an interesting touch, and a complement to the blue text in the booklet - two colors that you might not expect to be associated with an album like TDS.

But now that I'm looking at the DE, I realized that it's always been just...brown. Something about the way the original is printed made it look purplish to me and I just accepted that, until today. Weird.

I was looking over my TDS Definitive Edition today, and it made me realize something that made me feel really dumb.

For the longest time, I thought that the text on the outer sleeve of TDS (I have the BMG edition) was purple. A very dark purple. I thought it was an interesting touch, and a complement to the blue text in the booklet - two colors that you might not expect to be associated with an album like TDS.

But now that I'm looking at the DE, I realized that it's always been just...brown. Something about the way the original is printed made it look purplish to me and I just accepted that, until today. Weird.

There actually is a variant with purple text (if I remember correctly) that is the Dutch version of TDS on vinyl.

Really enjoying the Panorama webcast today; 'Less Than' is the mashing of 'Copy' and 'Hand that Feeds.' Ground-breaking it is not but frankly a band has to bring the bangers. This is kind of similarity is fine from my critical perspective as long as tracks like 'This isn't the Place' explore odd timing and keyboard textures.

YouTube commenters point out that Ross is adding details to things like the coda of 'Pigs.' Something sounding fresher, this must be it. Also a subtle surprise- the Closer piano coda with the meek, falsetto chorus is new and nicely done. I saw 'Copy' during the Tension Tour, this version has muscular drum fills, different delays on the vocal and lacks for sleekness, but its now rock and not minimal techno. Still think single edits of this one and 'Low' could've been radio hits.

'Gave Up' is ending and the band is getting free with the noise. Being a viewer of hundreds of noise shows and auxillary (Sp) player in a couple acts, I fully support NIN extending this kind of coda for minutes more.

Gorgeous cover of Bowie. Seems like 'Lovers' will replace 'Find my Way' as the weirdly IDM-influenced ballad. Wish (ahem) that a different dirge would replace 'Reptile,' never been a fan. 'She's Gone Away' would sound great in its place. Hopefully I will experience 'Burning Bright' on an amphitheater scale soundsystem someday, its an arena rock song congealed in Sludge metal (a la the Body). I find it very uplifting.

In retrospect, this tour seems legendary. However at the time it got a lukewarm reception yeah? I tried to round-up some friends to make an 8-hour round trip to St. Louis, on a school night no less, no takers. But wow that show would've set teen SarahConnor on a different path I'm sure. Too bad the tee shirts on eBay are pretty grim looking or else I'd buy one.

...as long as tracks like 'This isn't the Place' explore odd timing and keyboard textures...

ok, you're the second person i've seen mention an "odd timing" aspect to "this isn't the place" and i'm really confused because that song is in straight 3/4 time. is there something i'm missing, or are y'all hallucinating?

ok, you're the second person i've seen mention an "odd timing" aspect to "this isn't the place" and i'm really confused because that song is in straight 3/4 time. is there something i'm missing, or are y'all hallucinating?

I think they're talking about the 3/4 against 6/8 that becomes prominent at about 1:11 through 1:58, and then returns again later. (The song is 6/8, btw, not 3/4.)

differentiating between 3/4 and 6/8 time is all about semantics, though, and more about personal perception.

No, it's not simply multiplying by 2, and it's not about your feelings. This is music theory, and those two time signatures have different rhythms. If you don't know what the difference is, watch this:

No, it's not simply multiplying by 2, and it's not about your feelings. This is music theory, and those two time signatures have different rhythms. If you don't know what the difference is, watch this:

welp, guess my guitar teacher in high school explained that to me backwards because i've gone the last 15 years thinking it was the opposite. i think the problem is also that, when i record in protools, whether i'm doing 3/4 or 6/8 time, i always set the meter at 3/4 so my measures aren't super long (makes it easier to edit later, if necessary). sorry for throwing misinformation out there and thanks for clearing that up for me.

Damn. For ages I've been looking out for rips of those promo edits, but never thought to look on one of those bootleg compilations - I'd always dismissed them for one reason or another. That'll teach me.
Thanks for the info. Now to track down a copy...

Damn. For ages I've been looking out for rips of those promo edits, but never thought to look on one of those bootleg compilations - I'd always dismissed them for one reason or another. That'll teach me.
Thanks for the info. Now to track down a copy...

Just keep in the mind that the rips are OK, but the record player was the wrong speed (too slow). I forget exactly how much I had to speed them up (4-5%?) but you can gauge it by ear, comparing to the album version, if you have a good ear for pitch.